Ovations-It's All Overtures by SymphonyNH

Nashua Center for the Arts

Preludes Pre-Concert Talk made Possible By:

A LETTER FROM OUR EXECUTIVE

DIRECTOR & BOARD CHAIR

We are continuing our educational programs, deepening our engagement with young audiences, and enhancing our relationships with other nonprofits and partner venues around the state. This allows us to reach more people than ever before. These efforts would not be possible without the generous support of our patrons, sponsors, and volunteers. Your contributions are the lifeblood of our organization, and we are profoundly thankful for your unwavering commitment.

As we look forward to the months ahead, we are reminded of the extraordinary privilege it is to be a part of this vibrant musical community. We are excited to share this journey with you and to create lasting memories together.

Thank you for your continued support, and we can’t wait to see you at the symphony!

With warm regards,

Deanna R. Hoying Executive Director

Don McDonah, M.D. Board President

It’s All Overtures

Roger Kalia, Conductor

Overture to The Marriage of Figaro

Wolfgang Amadeus Mozart

Overture to West Side Story

Leonard Bernstein, Arr. Maurice Peress

Overture in C Major

Fanny Mendelssohn Hensel

Academic Festival Overture

Johannes Brahms

-Intermission-

Overture to Treemonisha

Scott Joplin

Overture to William Tell

Gioachino Rossini

Intermezzo from Cavalleria rusticana

Pietro Mascagni

Toast of the Town - Overture for Orchestra

Quinn Mason

Overture to Nabucco

Giuseppe Verdi

Our musicians for Tonight

Leonora LaDue

Jane Dimitry

Jessica Amidon

Lisa Brooke

VIOLA

Elaine Leisinger Acting Principal

Elisabeth Westner

Seeun Oh

Joy Grimes

Jennifer Shallenberger

CELLO

Nathaniel Lathrop Acting Principal

Alexander Badalov

Young Sook Lee

Priscilla Taylor

Cameron Sawzin

BASS

Volker Nahrmann Principal

Robert Hoffman

Greg Holt

CLARINET

Mackenzie Austin Principal

Aleksis Martin

BASSOON

Sally Merriman Acting Principal

Isaac Erb

CONTRABASSOON

Stephanie Busby

HORN

Ho-yin Li Guest Principal

Kristin Olsen

Michael Weinstein

Ellen Martins

TUBA

Zack Grass Guest Principal

TIMPANI & PERCUSSION

Jeffrey Bluhm Principal

Dylan Barber

Mike Ambroszewski

Timur Rubenstyn

HARP

Maria Ren Guest Principal

PIANO

Amy Lee Guest Principal

A LETTER FROM OUR MUSIC DIRECTOR

Dear Friends,

Welcome to Symphony NH’s 2024-25 season! This year, we are thrilled to present a season rich in variety, spanning from Beethoven to Mahler to Hollywood Hits, and much more. Our repertoire is diverse, and we are excited to feature an eclectic lineup of guest artists, while continuing to showcase the extraordinary talents of the musicians of Symphony NH.

As many of you may know, this will be my final season as your music director. The past six years have been a truly special chapter in my life, and I am deeply proud of what we have accomplished together. It has been an honor to lead the organization through its milestone 100th anniversary and to bring the orchestra to cities across the Granite State. The challenges of navigating the pandemic and re-imagining the concert experience—whether symphonic or chamber—have been profound, and I take pride in the fact that we continued to create opportunities for our musicians and bring music to so many people during that time. Most importantly, I will cherish the friendships and connections I’ve made with so many wonderful people over these years.

This season features some of my favorite works in the symphonic repertoire. Our opening concert includes Mahler’s breathtaking Symphony No. 4 in a unique chamber orchestra arrangement by Iain Farrington. Later, we will perform Beethoven’s Symphony No. 3, “Eroica,” along with Gershwin’s Rhapsody in Blue and Copland’s monumental Symphony No. 3. In a special concert, our remarkable woodwind and brass players will be highlighted in “Serenade for Winds,” which includes Mozart’s enchanting Gran Partita and Dvořák’s Serenade of the Winds—plus a surprise addition! I am also excited to present a program of beloved overtures, including Mozart’s Overture to The Marriage of Figaro and Bernstein’s Overture to West Side Story. Additionally, it will be a joy to share the stage with our outstanding guest artists this season, such as soprano Carley DeFranco and pianist Fei-Fei.

While this season is bittersweet for me, I look forward to every moment we will share in what promises to be a series of thrilling performances and unforgettable memories as I conclude my time as music director. Thank you for your unwavering support and enthusiasm over these past six years. I look forward to this season of music making and am thrilled you are part of it!

Sincerely,

Roger Kalia Music Director, Symphony NH

Roger Kalia Music Director, Symphony NH

Praised for bringing a “fresh view to classical music” (The Republic), Indian American conductor Roger Kalia is a versatile communicator who brings unique and unmistakable energy to the podium. Recently profiled by Symphony Magazine in recognition of his innovative programming, Kalia has been hailed as “leading with passionate intensity and a clear beat” as well as being “one to watch” (Long Beach Gazette).

Kalia is now in his fifth season as Music Director of the Evansville Philharmonic, his sixth season as Music Director of Symphony New Hampshire, and in his seventh season with Orchestra Santa Monica. He was most recently appointed Artistic Director Designate of the Terre Haute Symphony Orchestra for the 2024-25 season, and he will assume the role of Artistic Director during the 2025-26 season. He is also Co-Founder and Music Director of the celebrated Lake George Music Festival in upstate New York which has been described as “an unparalleled classical music experience in the Adirondacks” (Chronogram). The recipient of several awards from The Solti Foundation U.S., including an Elizabeth Buccheri Opera Residency with Lyric Opera of Chicago and five Career Assistance Awards, Kalia has been praised for his “extraordinary leadership” (Courier & Press).

The 2024-25 season features Kalia’s debut with the Amarillo Symphony and a return to the Redlands Bowl to conduct the Grand Finals of the prestigious Young Artists Concerto Competition as part of the Redlands Bowl Summer Music Festival. In recent seasons, he has appeared with the National Symphony Orchestra at the Kennedy Center, Chicago Sinfonietta, Louisiana Philharmonic, Baltimore Chamber

Orchestra, Szczecin Philharmonic (Poland), Hollywood Chamber Orchestra, Boise Philharmonic, Spartanburg Philharmonic, Columbus Indiana Philharmonic, and the symphony orchestras of Redlands, Lima, Adrian, Bakersfield, Great Falls, Owensboro, Spokane, and Wheeling.

In his various music director positions, Kalia has focused on innovative artistic partnerships highlighting a variety of community partners. In 2023, Kalia collaborated with acclaimed Bollywood singer Anuradha “Juju” Palakurthi and Symphony New Hampshire in a celebration of Indian culture via a history-spanning performance of Bollywood songs in their first-ever arrangement for Western instruments, Symphony Masala. He commissioned and premiered Orchestra Santa Monica’s inaugural art film in collaboration with composer Derrick Skye titled We Gather: Black Life in Santa Monica, and his early seasons leading the Evansville Philharmonic centered on collaborations with community organizations such as Historic Bosse Field, the Tri-State Hindu Temple, and the Evansville Wartime Museum. Kalia’s groundbreaking programming has been featured on PBS’s “On the Road with Brick Briscoe” and “Regional Voices.”

Kalia has collaborated with a wide range of artists including singers Angela Brown, Shayna Steele, Dan Domenech, and Jubilant Sykes; Grammy-winning trio Time for Three; Indian tabla virtuoso Sandeep Das; singer/ songwriters Randy Newman and Randy Jackson; rock musicians Johnny Rzeznik of the Goo Goo Dolls and Nancy Wilson of Heart; the B-52s; sitar player Anoushka Shankar; and actor Jack Black.

A native of New York State, Kalia holds degrees from Indiana University, the University of Houston, and SUNY Potsdam’s Crane School of Music. He currently resides in Indiana with his wife, musicologist and violinist Christine Wisch.

Program Notes - It’s All Overtures

The orchestral overture is one of the most compelling and dynamic genres in classical music. Originating in the 17th century, overtures were initially designed as introductory pieces to operas, ballets, and oratorios, setting the stage for the drama to unfold. Over time, they evolved beyond their original function, developing into concert overtures—standalone symphonic works that capture the drama, emotion, and energy of a full-scale production in a concise form. Whether heralding the beginning of an operatic masterpiece or serving as an independent musical statement, overtures are thrilling compositions that showcase a composer’s ability to encapsulate a wealth of emotion, narrative, and technical brilliance in a short span of time.

Wolfgang Amadeus Mozart (1756–1791

Overture to Le nozze di Figaro, K. 492 (1786)

Mozart’s Overture to Le nozze di Figaro

(The Marriage of Figaro) is a quintessential example of the Classical-era opera overture, characterized by clarity of form, brisk energy, and vibrant orchestration. Rather than serving as a dramatic prelude that foreshadows the opera’s events or introduces operatic melodic themes, this overture functions as a self-contained curtain-raiser, setting the stage with its effervescent spirit.

Structurally, the piece follows a modified sonata form without a development section, maintaining a sense of forward motion,

Tonight’s program, It’s All Overtures, explores the overture in its many forms. Spanning the Classical, Romantic, and modern eras, this collection features works that range from the buoyant and energetic to the darkly dramatic and introspective. Along the way, we will also encounter a unique inclusion— the Intermezzo from Cavalleria rusticana—a piece that, while not an overture in the strictest sense, serves a similar function in its ability to condense the emotional essence of a larger work. As we journey through these vibrant orchestral creations, we invite you to listen for the sweeping themes, bold orchestrations, and dramatic flourishes that make the overture such a captivating musical form.

drama, and anticipation within this classical form. The overture opens with rapid, swirling figures in the strings, immediately drawing listeners into its whirlwind energy. Mozart employs light, playful articulation and sudden dynamic contrasts to create an atmosphere of excitement and mischief. Woodwinds add sparkle to the texture, while the brisk tempo and buoyant rhythms capture the opera’s themes of wit, intrigue, and comedic chaos. The piece maintains relentless momentum, offering a brilliant orchestral prelude to one of the most beloved operas in the repertoire.

Leonard Bernstein (1918–1990), arr. Maurice Peress (1930–2017)

Overture to West Side Story (1957, arr. 1965)

Leonard Bernstein’s West Side Story redefined musical theater with its synthesis of jazz, classical, and Latin influences. The overture, as arranged by conductor and arranger Maurice Peress, distills the energy and passion of the full score into a dazzling orchestral showcase. Bernstein’s ability to weave together complex rhythms, vibrant orchestration, and unforgettable melodies is on full display.

Opening with the electrifying “Mambo,” the overture immediately establishes a sense of

urgency and excitement. It then transitions into the wistful “Somewhere,” offering a moment of lyrical contrast before launching into the dynamic “America,” Bernstein’s orchestral attempt to capture the vibrant dances and musical culture Puerto Rico. The overture captures the essence of West Side Story—a tale of love, rivalry, and tragedy— through its dynamic shifts and exhilarating thematic contrasts.

Fanny Mendelssohn Hensel (1805–1847)

Overture in C Major (1830)

Fanny Mendelssohn Hensel, a gifted composer and pianist, was one of the most significant female composers of the nineteenth century. Despite societal constraints on women in music, she composed over 450 works, the majority of which remained unpublished in her lifetime with some early works published under the name of her brother, Felix. The Overture in C Major, her only orchestral work, is a testament to her extraordinary talent and her ability to create dramatic and engaging symphonic music. The work was likely written to be performed by a small orchestra in her famous salon concert series, which she hosted every Sunday in her home in Leipzig.

This overture reflects the influence of

Johannes Brahms (1833–1897)

Academic Festival Overture, Op. 80 (1880)

Unlike many overtures written for the stage, Brahms’ Academic Festival Overture belongs to a tradition of standalone orchestral overtures composed for special occasions. Written as a response to receiving an honorary doctorate from the University of Breslau (Wrocław), this piece premiered as the opening work in a university concert in 1881.

Rather than writing a solemn work, Brahms infused the overture with humor

Scott Joplin (1868–1917)

Overture to Treemonisha (1911)

Scott Joplin, the “King of Ragtime,” sought to elevate his compositions beyond piano rags and into the realm of opera. Treemonisha was his ambitious attempt to create an opera blending African American folk styles with European classical traditions.

The overture to Treemonisha reflects Joplin’s signature syncopations, with a lively opening that quickly establishes a dance-like feel. The

Gioachino Rossini (1792–1868)

Overture to William Tell (1829)

Rossini’s William Tell Overture is one of the most famous in the orchestral repertoire, best known for its exhilarating “gallop” finale, which has become synonymous with horse chases and heroic pursuits in popular culture and even served as the theme music for The Lone Ranger. However, the overture is much more than its wellknown conclusion—it is a brilliantly crafted

early Romanticism, particularly in its sweeping melodies and dynamic contrasts. Opening with a bold, assertive introduction, the music soon transitions into a more lyrical, flowing theme reminiscent of her brother’s orchestral style. The overture’s development section is rich with harmonic and textural interplay, leading to a stirring conclusion. Though it never served as the prelude to an opera, it stands as a testament to Hensel’s skill in crafting dramatic orchestral narratives.

and exuberance, incorporating a medley of student drinking songs. The work builds from a stately opening into a lively, boisterous celebration, culminating in a triumphant rendition of Gaudeamus igitur, a traditional university anthem. With its rich orchestration and infectious energy, Brahms’s overture serves as a joyful tribute to academia and an example of how the overture became a standalone work worth of celebration and ceremony.

piece is richly orchestrated, featuring warm string melodies, vibrant brass fanfares, and buoyant rhythms that hint at the fusion of styles to come in the opera. Joplin’s writing is lyrical and expressive, with clear, singing lines that make the overture both engaging and deeply enjoyable.

orchestral suite that tells a vivid musical story.

Unlike many operatic overtures, William Tell does not introduce themes from the opera itself. Instead, it functions as a self-contained programmatic work, evoking a series of dramatic scenes. The French composer Hector Berlioz, a pioneer of programmatic

music, even referred to it as a “symphony in four parts.” While Rossini did not provide descriptive titles for the sections, a longstanding tradition has emerged in naming them.

The overture opens with a serene passage commonly called “Dawn,” featuring a lyrical solo for cellos that evokes the peaceful sunrise over the Swiss Alps. This tranquility is soon interrupted by “The Storm,” an electrifying section driven by rapid string tremolos and thunderous timpani, vividly

Pietro Mascagni (1863–1945)

“Intermezzo” from Cavalleria rusticana (1890)

Though not an overture, Mascagni’s “Intermezzo” from Cavalleria rusticana serves a similar dramatic function within the opera. Unlike an overture, which typically introduces an opera’s themes, the Intermezzo acts as a reflective moment between scenes, providing a lyrical contrast to the opera’s intense drama.

This brief yet deeply expressive piece unfolds with a tender, hymn-like quality,

Quinn Mason (b. 1996)

Toast of the Town (2021)

Quinn Mason, a rising star in the contemporary classical world, has quickly established himself as a composer of remarkable versatility and creativity. Born in 1996, Mason has written for major orchestras across the United States and is celebrated for his ability to blend traditional forms with a fresh, modern voice.

His Toast of the Town, described by the composer as “a festive and fun overture to an operetta that doesn’t exist,” is a

Giuseppe Verdi (1813–1901)

Overture to Nabucco (1842)

Verdi’s Nabucco was the Italian master’s first major operatic success, and its overture exemplifies a later form of the overture—one that presents key themes from the opera itself rather than serving as a standalone prelude. This approach allows the overture to introduce the opera’s most memorable melodies, immersing the audience in its dramatic world before the curtain even rises.

The opera tells the biblical story of King Nebuchadnezzar (Nabucco) and the Babylonian conquest of Jerusalem, centering on themes of oppression, exile, and divine intervention. The Israelites’ captivity under Babylonian rule and their

depicting nature’s fury. The storm subsides into a gentle pastoral interlude, often referred to as “The Ranz des Vaches” (Call to the Cows), where English horn and flute solos conjure images of a shepherd’s tune echoing through the mountains. Finally, the overture erupts into the celebrated “March of the Swiss Soldiers,” a high-energy, galloping conclusion that captures the opera’s themes of heroism, rebellion, and triumph.

characterized by its soaring string melody and rich harmonies. Functioning almost like an orchestral aria, it offers a moment of repose before the opera’s tragic climax. Like many overtures, the Intermezzo distills the opera’s emotional core into a purely instrumental statement, making it a fitting inclusion in a concert of orchestral preludes.

delightful homage to the overture tradition. Inspired by the lively and comedic overtures of Gilbert and Sullivan and Jacques Offenbach, Mason’s piece is full of bright orchestration, catchy melodies, and rapid shifts in character. Like the best of these classic operetta overtures, Toast of the Town balances playful humor with moments of lyricism, making it an engaging and whimsical addition to tonight’s program.

yearning for freedom are powerfully expressed in “Va, pensiero,” the famous chorus of the Hebrew slaves—one of several themes woven into the overture.

The music unfolds in sweeping gestures, incorporating these themes alongside dramatic brass fanfares, lyrical string passages, and surging orchestral climaxes. The overture exemplifies Verdi’s gift for melody and dramatic pacing, serving as a thrilling concert piece and a rousing conclusion to tonight’s celebration of overtures.

Christine Wisch

Program Annotator

Christine Wisch is a staff member of the Latin American Music Center and adjunct lecturer at the Jacobs School of Music. She holds a bachelor’s degrees in music education and Spanish from the University of Houston as well as a master’s degree and doctorate in musicology from Indiana University. Her work as a musicologist focuses on nineteenth-and early twentiethcentury Spanish classical music and issues of patronage, nationalism, and exoticism. She currently teaches a course on Women Musicians for the Music in General Studies Program and the Introduction to Latin American Art Music for the LAMC as part of the undergraduate minor curriculum.

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